R. OSA

When is a body “beautiful”? What makes it aesthetically pleasing and socially acceptable, on stage or in a streetcar? The Italian Silvia Gribaudi takes on the subliminal norms in art and society that construct the myths of elegance and grace. They especially apply to the female body, which the former ballerina from Torino liberates with espirit and humor from normative role models. For example, who would come up with the idea that the performer Claudia Marsicano, with her extensive corpulence, could be a super energetic fitness instructor? That her weighty presence gets the audience to move like this and start laughing? What distinguishes Gribaudi is not only her commitment but equally her authentic, irresistible humor. A fourth wall between the stage and auditorium does not have a chance to be raised. In R. OSA, the audience practically becomes a protagonist and has fun participating in the physical exercises. It can be this relaxed, this enthusiastic when formatted perspectives are broken up! Because R. OSA means as much as: Rosa dares to do it. She dares to do what society forbids her to trust herself to do. The risk and its challenge are mastered by Marsicano and the audience together and full of joy in “ten exercises for a new virtuosity”, which is inspired by Jane Fonda’s aerobics and the voluptuous figures of the Columbian painter and sculptor Fernando Botero. R. OSA demonstrates: What seems to be mutually exclusive actually creates plenty of good humor!